Written reflection –

Year 1 Creative Identities unit, BA (Hons) Cordwainers Fashion Bags and Accessories 

Introduction

Over the past year, I served as an acting joint Course Leader, this position gave me valuable insights into course management and the challenges Course Leaders face, helping me better support them in my permanent Lecturer position. I was responsible for creating assessment briefs, which allowed me to review and improve processes using my experience and PGCert knowledge.

As mentioned in the intervention introduction, I’m eager to transform the Year 1 unit “Creative Identities” (Assessment Brief – Appendix 1), where students explore their identities as designers. I’ve observed that students often struggle to identify meaningful aspects of their identity, instead choosing loosely related topics like cars, makeup, or animals. While these can reflect identity aspects, the unit aims to help students explore their unique qualities as designers. In this review, I will assess how educators can better support students in identifying and sharing meaningful aspects of their identity for this project.

My Positionality

As a recent graduate from an Accessories course, I understand what students might experience while studying in London. While I can’t fully relate to the experiences of international students as a white British citizen with no experience living abroad, I will explore how I can use my position to enhance their experience through my teaching.

As a bilingual speaker with Welsh as my first language and English as my second, I understand the barriers multilingual learners face. I strive to use professional academic language in my teaching but ensure it is easy to understand (Inclusive language). I will offer digital copies of documents in PDF format so students can use translation or read-aloud programs if needed (Accessible Learning). Additionally, I will ensure gender-neutral and culturally sensitive language in all future sessions.

Interestingly, Zepeda (2021) notes that “bilingualism opens avenues for greater self-esteem, a stronger sense of identity, and enhanced awareness of cultural diversity.” From my experience, I agree, but this doesn’t seem to hold true for many of our students. Bennett (2012) suggests that international students may struggle with identity exposure due to cultural and linguistic barriers. Could this be a reason why this issue arises in this unit?

I come from a rural Welsh working-class background, and this upbringing deeply influenced my creative work. I draw inspiration from the Welsh landscape, culture, and traditions, using found natural materials to create sustainably. As a student, I was proud of my background because it gave me a unique perspective to incorporate into my work. I found projects like Creative Identities exciting, as they allowed me to explore my cultural heritage while learning about my peers’ backgrounds too.

Gurin et al. (2002) explain that classroom diversity significantly enriches the student experience by bringing together various cultural backgrounds, perspectives, ideas, and skills—a sentiment I wholeheartedly agree with, as it greatly enhanced my time as a student. This diversity also creates a learning environment that mirrors the global society students will encounter after graduation, as Lynch (2015) suggests.

Bennett (2012) explains that when students navigate their personal and academic identities through creative mediums, they can form deeper connections to their work, enriching their learning experiences. This suggests that overcoming challenges in this unit may be more manageable due to the creative nature of our course. It also prompts me to consider how we can creatively engage students and build their trust through our teaching methods.

After a discussion with my tutor Cai, I realised how limited my perspective has been in understanding why some students hesitate to celebrate their identities. Having been taught from a young age to embrace my culture/heritage and language, I now see that not everyone shares this experience. Asking students to celebrate themselves can feel patronising or exposing, which may explain the lack of engagement in classroom discussions about their work and chosen themes. If students feel uncomfortable or disadvantaged by revealing their identities, they will naturally withdraw.

Following this discussion, I identified potential barriers within the unit and spoke with some students (Appendix 2) to gain a deeper understanding of their perspectives.

Here are a few suggestions –

• Cultural differences- Some students place a higher value on privacy regarding personal expression, they may also believe that personal identity should be separate from academic work.
• Fear of being stereotyped.
• Fear of not “fitting in”.
• Students may feel less confident expressing deeply personal ideas in a non-native language.
• International students may be unsure how personal expression is viewed in academic settings.
• Students may fear facing prejudice or bias if they openly express their identity.
• “Playing it safe” – By choosing a theme that compliments the given brand, students might find it easier to get a “good grade”.
• Many students are still discovering who they are, especially those aged 18-20, who made up 70% of the Year 1 Accessories cohort this year (Data from https://dashboards.arts.ac.uk/ ). Even though everyone is different, it takes time to truly understand yourself. I’m only just beginning to feel comfortable with certain aspects of who I am, and I imagine many others are still on that journey too.
• “They might not understand the meaning of Identity”.

Being aware of the points above, I will be more understanding of students’ positionalities and better prepared and able to support them.

My final positionality that could influence the unit is my dyslexia. I haven’t disclosed this when teaching so far, and I wonder about the impact of doing so. Could being more open and vulnerable about my own identity make students more willing to share aspects of theirs?     

Intervention

My proposal aims to make the learning environment more inclusive and accessible, shifting the burden from students. By embedding inclusive practices directly into my teaching, I hope to achieve immediate, visible benefits. I aim to help students understand who they are as designers, and how this is connected/influenced by the cultural and societal values they hold. Unfortunately, I will not be able to try this session with students before submission for feedback, but I have been discussing the changes with staff and students for feedback.

My first task for this unit is ensuring the students understand the brief (Briefing PowerPoint Appendix 3), this includes understanding the meaning of Identity –

In the workshop we will discuss “Identity” and in groups, students will start listing all the possible identity aspects they could explore e.g. see some examples below

• Race and Ethnicity
• Gender and Gender Identity
• Sexual Orientation
• Cultural Background
• Religion or Spiritual Beliefs
• Socioeconomic Status
• Nationality
• Language
• Disability or Ability Status
• Age
• Educational Background
• Career
• Political beliefs
• Body Image / Physical Appearance

This would be a fun interactive large group activity where students would use Post-it to list different Identity aspects, another alternative option (and if the class needed to be online) is to use a Miro board. Once the students have created a list of aspects, we would spend time as a group discussing how some of the selected aspects would influence a design brand, this would help the students establish what is expected from the task.

Additionally, I will also integrate the following culturally responsive teaching (CRT) methods and inclusive practices into the Creative Identity sessions, to recognise and honour students’ cultural backgrounds, and to create an inclusive and effective learning environment.

Culturally Responsive Teaching: Jabbar et al. (2016) concluded in their paper that “current curriculum structures and pedagogical approaches favour the dominant non-ethnically diverse learner”, therefore more needs to be done to help ‘cultural branching’. Ensuring Cultural awareness and representing diversity in my sessions is critical, by doing so, I aim to positively influence my relationship with students, demonstrating genuine interest and building trust. Integrating cultural references into my lessons is essential for ensuring inclusion and diversity. Additionally, it is important to review these references annually to maintain accuracy and relevance.

Inclusive Curriculum: Reviewing the session to ensure I include examples of perspectives from diverse representation (Chalmers, F.G. 1996), it’s also important to ensure the examples are culturally relevant so students relate to the content. I have examples of designers who use their own identity within their work to create their brand’s USP to help students understand the task and inspire creativity (Appendix 3).

Responsive Teaching Practices: Use varied teaching methods to address different learning styles. In Workshop 1 of the Inclusive Practices unit, I was introduced to Persona Pedagogy— a concept new to me, but I realized I had used its principles before. This approach introduces the exploration of “Identity” in a safe way. I plan to have students create an identity mind map based on a friend, family member, or icon, rather than their own identities. This shift helps students explore identity themes without risking overexposure, giving them time to reflect on what aspects of their identity they are comfortable sharing (Thomas, C. 2022).

Then students will review the identity mind maps in interactive groups to foster discussion and openness.

Another method, suggested by Steve Johnson during our APR session, involves acting like a “buffoon” to break the ice and help students feel more confident in expressing their opinions. While I might not use this approach personally, I plan to be more inquisitive to show genuine interest in students’ work. By asking challenging questions about their design choices or offering suggestions, I can prompt reactions and help them develop a stronger creative voice.

Student-Centred Learning and Active Learning Strategies: This unit is designed to encourage students to share aspects of their identities and collaborate. The group presentation component fosters teamwork and allows students to demonstrate their understanding in various formats, such as video, presentation, imagery, or performance. I also plan to schedule additional small group Formative Assessment Points (Flexible Assessment) (Wanner, T. et al. 2015) to encourage discussions and diverse perspectives (Student Involvement), ensuring students receive peer and tutor feedback in an intimate setting (Supportive Environment). While examples of past projects are available on Moodle, I emphasise that these are for reference only, as students need to have the freedom to experiment with different forms of expression.

Reflections

By implementing these interventions, I aim to enhance the inclusivity of my teaching and help students feel more confident in engaging with the project. I will regularly reflect on and assess my teaching practices to ensure they remain inclusive, and I plan to seek annual student feedback for further improvement. Additionally, I’ve come to appreciate the value of collaboration since completing my PGCert. Setting regular reflection points with colleagues and students will allow us to learn from each other’s experiences and benefit the entire team. The Accessories team will be briefed to support the goals outlined above, we meet often to discuss issues and address any upcoming concerns. Involving students in course planning and decision-making will encourage them to be more invested in their learning, which could positively influence attendance (Cook-Sather, A., et al. 2014).

 Another future goal is to gather insights from incoming students and tailor course content accordingly.

I will also prioritise professional development by continually learning about inclusive teaching, attending workshops both internally and externally of UAL, reviewing current research, and collaborating with colleagues on inclusivity initiatives.

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References

Bennett, D., (2012) A Creative Approach to Exploring Student Identity. Curtin University, Australia. The international journal of creativity & problem solving 2012, 22(1), 27-41. Available at: https://www.academia.edu/download/39993936/Bennett_22-3_.pdf (Accessed: 03 August 2024).

Chalmers, F. G. (1996). Celebrating Pluralism: Art, Education, and Cultural Diversity. United States: Getty Center for Education in the Arts. Available at Google Books: https://www.google.co.uk/books/edition/Celebrating_Pluralism/a24cDAAAQBAJ?hl=en&gbpv=1&printsec=frontcover#v=onepage&q&f=false (Accessed: 04 August 2024).

Cook-Sather, A., Bovill, C. and Felten, P., (2014). Engaging students as partners in learning and teaching: A guide for faculty. John Wiley & Sons. P. 5 + P.17 Google Books Available at: https://books.google.com/books?hl=en&lr=&id=wBoRAwAAQBAJ&oi=fnd&pg=PA1&ots=kLv1nY90Tx&sig=05OciLDC2m-iTFjGXeG3_mQg0eU (Accessed: 04 August 2024).

Gurin, P., Dey, E. L., Hurtado, S., & Gurin, G. (2002). Diversity and Higher Education: Theory and Impact on Educational Outcomes. Harvard Educational Review, 72(3), 330-366. Page No.11. Available at: https://escholarship.org/uc/item/9f77t8j3 (Accessed: 17 July 2024).

Jabbar, A. and Mirza, M. (2017) ‘Managing diversity: academic’s perspective on culture and teaching’, Race Ethnicity and Education, 22(5), pp. 569–588. doi: 10.1080/13613324.2017.1395325. Available at: https://www.tandfonline.com/doi/full/10.1080/13613324.2017.1395325#abstract (Accessed:20 July 2024).

Lynch, M.(2015) Diverse Conversations: Why Diversity on Campus Matters in Real World. Available at: https://www.diverseeducation.com/home/article/15096613/diverse-conversations-why-diversity-on-campus-matters-in-real-world (Accessed: 15 July 2024).

Thomas, C. (2022) Overcoming Identity Threat: Using Persona Pedagogy in Intersectionality and Inclusion Training. School of Social Works & Arts, Faculty of Arts & Education, Charles Sturt University, Wagga Wagga 2678, Australia. Available at: https://www.mdpi.com/2076-0760/11/6/249 (Accessed: 26 July 2024).

Wanner, T. and Palmer, E. (2015) Personalising learning: Exploring student and teacher perceptions about flexible learning and assessment in a flipped university course, Computers & Education, Volume 88, Pages 354-369 Available at: http://www.maktabe-hekmat.ir/wp-content/uploads/2018/12/2015.-student-and-teacher-perception-in-FC.pdf (Accessed: 22 July 2024).

Zepeda, M.(2021) How dual language learning fosters inclusivity and nurtures talent. Available at: https://www.first5la.org/article/how-dual-language-learning-fosters-inclusivity-and-nurtures-talent/ (Accessed: 22 July 2024).

UAL Accessories course data –

https://dashboards.arts.ac.uk/

UAL research paper –

Document Preview – Students’ Experience of Identity and Attainment at UAL – Fine Art report (2016) Duna Sabri (PDF 463KB) (arts.ac.uk)

Appendix

Appendix 1 – Assessment Brief for Creative Identity

Appendix 2 – Questions sent to students and colleagues to help me form my intervention. I received 6 replies from students with interesting feedback and points I hadn’t considered. Although I didn’t receive any replies from staff members who work on this unit, I was able to verbally discuss the project with a couple of colleagues to gain some additional insight too.

I have not included all the student replies below, as some of the replies were very personal and lengthy, I can anonymise and upload if required.

Introduction-

As a part of my PGCert work, I’m trying to ensure that our first-year Unit – Creative Identity (previously known as Product Creativity) is more inclusive and accessible. As a student who’s passed this unit successfully, I would be very grateful for your feedback on how you believe this unit could be enhanced.

In the past, I’ve noticed a tendency among students to hesitate in fully embracing their identities within their coursework. While they exhibit enthusiasm in exploring established brands, they encounter difficulty in discerning which aspects of their own identity to centre their focus on. Often, they choose topics loosely connected to their interests without a clear alignment with the assignment’s objectives. For instance, this year, some students chose to explore sea creatures due to a general affinity for marine life. In my view, this reflects a missed opportunity for the students to engage deeply with the assignment brief and to utilise the platform for self-exploration and personal growth.

(Questions for students)

1. Can you suggest ways we could create a teaching environment that encourages students to explore their own identities comfortably?
2. As a student who successfully completed this unit, what factors made you feel confident in exploring your chosen aspect of identity?
3. If you had the opportunity to retake the unit, what changes would you make? Would you consider exploring a different aspect of your identity?
4. How can I, as the unit leader and UAL staff member, support you in exploring your identity?
5. Do you consider UAL a safe and inclusive space where you feel confident exploring your own identity? Please elaborate, relating to both your academic work and day-to-day life on campus.
6. Lastly, regarding your response to question 5, do think this applies to all UAL students regardless of their Identity (e.g. cultural heritage, sexual orientation, race, political beliefs etc…

(Questions for Staff)

1. Can you suggest ways we could create a teaching environment that encourages students to explore their own identities more comfortably?
2. Why do you think some students feel confident in exploring their chosen aspect of identity whilst others are hesitant?
3. Can you suggest ways unit leaders and UAL staff members, can support students in exploring their identities?
4. Do you consider UAL a safe and inclusive space where students feel confident exploring their identity? Please elaborate, relating to your experiences working with students.

Appendix 3 – PPT for Briefing session 23/24

Appendix 4

Identity example – Designer 1  

Identity example – Designer 2